Tuesday, January 27, 2009
SKETCH BOOK assignment 1
TUESDAY CLASS DUE FEB 3
FRIDAY CLASS DUE FEB 6
Photography is all about light. To make a successful image, exposure and light must work for you. This assignment is about thinking about light.
I want you to pick a place. it can be outdoors or indoors (the catch is that it MUST have outside light influencing the space in some way if it is inside). this place should be somewhere that you would enjoy spending some time. It may be a place you would consider photographing, but it doesn't have to be. you may discover things about this place that you would want to photograph as you do this assignment. that is totally acceptable.
once you have place, i want you to spend some time there. ideally you may want to spend the entire day in this space, or if you have to break up the times that you are there, go back at different times. Study what the light is doing while you are there. when is the light the most appealing to you? Why? When does the light make you most want to spend time there? When does it least make you want to spend time there? Why? Pay attention to the quality of the light: when is it brightest? which direction? how does direction affect the light in that space? How does the temperature of the light change throughout the day? When is it cold (more blue)? when is it warm (more yellow or orange)? What do you notice about the shadows? the colors? the areas of white if any?
Keep a log as you do this assignment and answer the above questions. write about the light and the changes you notice as you spend time there. This can be as long as you want it to be, but i should see at least a page of notes in your sketchbook after you are finished. DON'T take your camera with you! This is about studying a place and spending time there. The photographs will come later.
FRIDAY CLASS DUE FEB 6
Photography is all about light. To make a successful image, exposure and light must work for you. This assignment is about thinking about light.
I want you to pick a place. it can be outdoors or indoors (the catch is that it MUST have outside light influencing the space in some way if it is inside). this place should be somewhere that you would enjoy spending some time. It may be a place you would consider photographing, but it doesn't have to be. you may discover things about this place that you would want to photograph as you do this assignment. that is totally acceptable.
once you have place, i want you to spend some time there. ideally you may want to spend the entire day in this space, or if you have to break up the times that you are there, go back at different times. Study what the light is doing while you are there. when is the light the most appealing to you? Why? When does the light make you most want to spend time there? When does it least make you want to spend time there? Why? Pay attention to the quality of the light: when is it brightest? which direction? how does direction affect the light in that space? How does the temperature of the light change throughout the day? When is it cold (more blue)? when is it warm (more yellow or orange)? What do you notice about the shadows? the colors? the areas of white if any?
Keep a log as you do this assignment and answer the above questions. write about the light and the changes you notice as you spend time there. This can be as long as you want it to be, but i should see at least a page of notes in your sketchbook after you are finished. DON'T take your camera with you! This is about studying a place and spending time there. The photographs will come later.
ASSIGNMENT 1
TUESDAY CLASS DUE DATE: FEB 10
FRIDAY CLASS DUE DATE: FEB 13
Assignment 1: Point of View, Perspective and The Frame
Perhaps the difference between a snap shot and a photograph is that a snap shot records a subject, whereas a photograph describes a subject. A poet carefully chooses their words to create a feel for the subject. Some features are never mentioned while others are emphasized. Certain words are chosen for their implications, associations, feel and sound, others are edited out because they distract. We are visual poets: we select and describe with a visual language: every camera technique, design element, production process and output quality should help to reveal the qualities of the subject we wish to emphasize. In this first assignment we want to explore how the camera position and lens focal length affect the image – and therefore how the viewer responds to the image.
As you photograph your subject, experiment with different camera angles and distances from your subject. See how changing camera position and lens focal length not only changes how the subject looks, but how the other elements in the scene change in scale compared to the subject – in important part of perspective.
Now that you’ve determined where to take the picture from, consider using the frame – what gets included, what gets cropped out, and what is partially in or out of the image. See if you can energize the composition with lines and shapes pushing and breaking the frame.
While shooting, look at your viewfinder. Look at every edge and corner and space. Edit the image carefully in the camera.
Throughout the process of photographing, work on expressing yourself with a “straight” photograph. Make the image in the camera. Try different compositions, angles of view and use the environment. Notice the quality of light (turn off the flash!) and try photographing the same subject at different times of day and under different types of light.
Photograph four to six different ideas/subjects and shoot 20 to 40 frames on each idea. you will want to bracket for exposure (at least three frames should be identical except for exposure (one at the ideal setting, one over exposed by the next postion on your light meter, and one underexposed by one postion on your light meter)). the 20-40 frames means think hard about how many different angles you can take that idea from! get on a ladder! get down in the dirt! do whatever you need to do to take a step beyond how you would think to frame that photograph! i should see variety in your contact sheets, and i should see at least 200 images! contact sheets are a part of your grade, so you need to meet the minimum number of images. You can't edit for a sucessful shot if you haven't taken a lot of photos.
Critique will be based on prints. As of this writing, in class printing is problematic. You may wish to print at home or have commercial prints made. Prints should be approximately 8x10 inches, smaller is a little hard for the class to see during critique. If/when you open your image in Photoshop, DO NOT CROP, limit your adjustments to resize and your color/contrast/exposure adjustments should be limited to getting the output to be the best exposure/color balanced image possible. Be sure to archive your images for future use. Make sure that you have a folder to turn in your prints.
DUE AT CRITIQUE:
2 printed images in a folder to be viewed by the class and turned in
contact sheets with 200+ images
Yes, I know you want to play in Photoshop; I know you could “improve” the image if you did. But work with me here, there is good reason for what I ask. Try and get it right in camera, the original exposure should best tell your story.
Explore your subject - and describe it – by selecting your point of view, perspective and framing.
And have fun!
FRIDAY CLASS DUE DATE: FEB 13
Assignment 1: Point of View, Perspective and The Frame
Perhaps the difference between a snap shot and a photograph is that a snap shot records a subject, whereas a photograph describes a subject. A poet carefully chooses their words to create a feel for the subject. Some features are never mentioned while others are emphasized. Certain words are chosen for their implications, associations, feel and sound, others are edited out because they distract. We are visual poets: we select and describe with a visual language: every camera technique, design element, production process and output quality should help to reveal the qualities of the subject we wish to emphasize. In this first assignment we want to explore how the camera position and lens focal length affect the image – and therefore how the viewer responds to the image.
As you photograph your subject, experiment with different camera angles and distances from your subject. See how changing camera position and lens focal length not only changes how the subject looks, but how the other elements in the scene change in scale compared to the subject – in important part of perspective.
Now that you’ve determined where to take the picture from, consider using the frame – what gets included, what gets cropped out, and what is partially in or out of the image. See if you can energize the composition with lines and shapes pushing and breaking the frame.
While shooting, look at your viewfinder. Look at every edge and corner and space. Edit the image carefully in the camera.
Throughout the process of photographing, work on expressing yourself with a “straight” photograph. Make the image in the camera. Try different compositions, angles of view and use the environment. Notice the quality of light (turn off the flash!) and try photographing the same subject at different times of day and under different types of light.
Photograph four to six different ideas/subjects and shoot 20 to 40 frames on each idea. you will want to bracket for exposure (at least three frames should be identical except for exposure (one at the ideal setting, one over exposed by the next postion on your light meter, and one underexposed by one postion on your light meter)). the 20-40 frames means think hard about how many different angles you can take that idea from! get on a ladder! get down in the dirt! do whatever you need to do to take a step beyond how you would think to frame that photograph! i should see variety in your contact sheets, and i should see at least 200 images! contact sheets are a part of your grade, so you need to meet the minimum number of images. You can't edit for a sucessful shot if you haven't taken a lot of photos.
Critique will be based on prints. As of this writing, in class printing is problematic. You may wish to print at home or have commercial prints made. Prints should be approximately 8x10 inches, smaller is a little hard for the class to see during critique. If/when you open your image in Photoshop, DO NOT CROP, limit your adjustments to resize and your color/contrast/exposure adjustments should be limited to getting the output to be the best exposure/color balanced image possible. Be sure to archive your images for future use. Make sure that you have a folder to turn in your prints.
DUE AT CRITIQUE:
2 printed images in a folder to be viewed by the class and turned in
contact sheets with 200+ images
Yes, I know you want to play in Photoshop; I know you could “improve” the image if you did. But work with me here, there is good reason for what I ask. Try and get it right in camera, the original exposure should best tell your story.
Explore your subject - and describe it – by selecting your point of view, perspective and framing.
And have fun!
FRIDAY class calendar
CLASS CALENDAR FRIDAYS!
1) FRIDAY Jan 23 Introduction
Course format, logistics and goals
2) Jan 30
Intro to Digital media
Exposure basics
Composition basics
photo history/looking at artists
3) Feb 6
Camera functions workshop/file management
Interface intro to Photoshop
Bridge, Creating Contact Sheets, Organizing Photos
Adjusting Color, Exposure and Contrast
Layers
photo history/looking at artists
4) Feb 13 CRITIQUE FIRST ASSIGNMENT
5) Feb 20
The mechanics of light
More Photoshop: Adjusting Color, Exposure and Contrast, Layers, intro to tools
Looking at Artists
6) Feb 27 NO CLASS Rodeo Day Holiday
7) March 6 FIELD TRIP TO CENTER FOR CREATIVE PHOTOGRAPHY and U OF A (attendance mandatory)
we will meet at 9:30 at the bottom floor of the ccp
8) March 13 CRITIQUE SECOND ASSIGNMENT
9) March 20 NO CLASS Spring Break
10) March 27
More Light mechanics and Lighting
Photoshop: image adjustments, Continuing to look at color adjustment, Selections , Healing tools
Looking at Artists
11) April 3 CRITIQUE ASSIGNMENT 3
12) April 11
Color management/photoshop continued
Color management basics/printing
Continuing with photoshop tools
Masking
Looking at Artists
13) April 17
Multiple images
Combining images
Combining layers
Looking at Artists
14) April 24 CRITIQUE ASSIGNMENT 4
15) May 1
Color management/photoshop continued
Looking at Artists
16) May 8 WORK DAY
(for working on assignments, porfolio) ATTENDENCE NOT OPTIONAL
17) May 15 Final Critique
1) FRIDAY Jan 23 Introduction
Course format, logistics and goals
2) Jan 30
Intro to Digital media
Exposure basics
Composition basics
photo history/looking at artists
3) Feb 6
Camera functions workshop/file management
Interface intro to Photoshop
Bridge, Creating Contact Sheets, Organizing Photos
Adjusting Color, Exposure and Contrast
Layers
photo history/looking at artists
4) Feb 13 CRITIQUE FIRST ASSIGNMENT
5) Feb 20
The mechanics of light
More Photoshop: Adjusting Color, Exposure and Contrast, Layers, intro to tools
Looking at Artists
6) Feb 27 NO CLASS Rodeo Day Holiday
7) March 6 FIELD TRIP TO CENTER FOR CREATIVE PHOTOGRAPHY and U OF A (attendance mandatory)
we will meet at 9:30 at the bottom floor of the ccp
8) March 13 CRITIQUE SECOND ASSIGNMENT
9) March 20 NO CLASS Spring Break
10) March 27
More Light mechanics and Lighting
Photoshop: image adjustments, Continuing to look at color adjustment, Selections , Healing tools
Looking at Artists
11) April 3 CRITIQUE ASSIGNMENT 3
12) April 11
Color management/photoshop continued
Color management basics/printing
Continuing with photoshop tools
Masking
Looking at Artists
13) April 17
Multiple images
Combining images
Combining layers
Looking at Artists
14) April 24 CRITIQUE ASSIGNMENT 4
15) May 1
Color management/photoshop continued
Looking at Artists
16) May 8 WORK DAY
(for working on assignments, porfolio) ATTENDENCE NOT OPTIONAL
17) May 15 Final Critique
TUESDAY class calendar
TUESDAY CLASS CALENDAR
1) TUESDAY Jan 20 Introduction
Course format, logistics and goals
2) Jan 27
Intro to Digital media
Exposure basics
Composition basics
photo history/looking at artists
3) Feb 3 BRING YOUR CAMERA AND CARD READER
Camera functions workshop/file management
Interface intro to Photoshop
Bridge, Creating Contact Sheets, Organizing Photos
Adjusting Color, Exposure and Contrast
Layers
photo history/looking at artists
4) Feb 10 CRITIQUE FIRST ASSIGNMENT
5) Feb 17
The mechanics of light
More Photoshop: Adjusting Color, Exposure and Contrast, Layers, intro to tools
Looking at Artists
6) Feb 24 GUEST SPEAKER/ART HISTORY DAY
7) March 3 WORK DAY
(bring materials for 3rd crit to work on)
Attendence TOTALLY optional, March 6 FIELD TRIP TO CENTER FOR CREATIVE PHOTOGRAPHY we will meet at 9:30 at the
bottom floor of the ccp…with Friday class
8) March 9 CRITIQUE SECOND ASSIGNMENT
9) March 17 NO CLASS Spring Break
10) March 24
More Light mechanics and Lighting
Photoshop: image adjustments, Continuing to look at color adjustment, Selections , Healing tools
Looking at Artists
11) March 30 CRITIQUE ASSIGNMENT 3
12) April 7
Color management/photoshop continued
Color management basics/printing
Continuing with photoshop tools
Masking
Looking at Artists
13) April 14
Multiple images
Combining images
Combining layers
Looking at Artists
14) April 21 CRITIQUE ASSIGNMENT 4
15) April 28
Color management/photoshop continued
Looking at Artists
16) May 5 WORK DAY
(for working on assignments, porfolio)
ATTENDENCE NOT OPTIONAL
17) May 12 Final Portfolio Critique
1) TUESDAY Jan 20 Introduction
Course format, logistics and goals
2) Jan 27
Intro to Digital media
Exposure basics
Composition basics
photo history/looking at artists
3) Feb 3 BRING YOUR CAMERA AND CARD READER
Camera functions workshop/file management
Interface intro to Photoshop
Bridge, Creating Contact Sheets, Organizing Photos
Adjusting Color, Exposure and Contrast
Layers
photo history/looking at artists
4) Feb 10 CRITIQUE FIRST ASSIGNMENT
5) Feb 17
The mechanics of light
More Photoshop: Adjusting Color, Exposure and Contrast, Layers, intro to tools
Looking at Artists
6) Feb 24 GUEST SPEAKER/ART HISTORY DAY
7) March 3 WORK DAY
(bring materials for 3rd crit to work on)
Attendence TOTALLY optional, March 6 FIELD TRIP TO CENTER FOR CREATIVE PHOTOGRAPHY we will meet at 9:30 at the
bottom floor of the ccp…with Friday class
8) March 9 CRITIQUE SECOND ASSIGNMENT
9) March 17 NO CLASS Spring Break
10) March 24
More Light mechanics and Lighting
Photoshop: image adjustments, Continuing to look at color adjustment, Selections , Healing tools
Looking at Artists
11) March 30 CRITIQUE ASSIGNMENT 3
12) April 7
Color management/photoshop continued
Color management basics/printing
Continuing with photoshop tools
Masking
Looking at Artists
13) April 14
Multiple images
Combining images
Combining layers
Looking at Artists
14) April 21 CRITIQUE ASSIGNMENT 4
15) April 28
Color management/photoshop continued
Looking at Artists
16) May 5 WORK DAY
(for working on assignments, porfolio)
ATTENDENCE NOT OPTIONAL
17) May 12 Final Portfolio Critique
Friday, January 23, 2009
a quick clarification about homework
hi everybody!
first the photos need only to be on your camera...you do NOT have to print them.....it's really all about your practicing
also bring your card reader to class if you have one....we are going to do a lesson on mac basics and using your media with the classroom macs so that we'll all be on the same page about this....if you don't have your card reader yet, don't worry...i'm going to do demo and you can also practice with a buddy in class
and a word on sketchbooks.....one is that these are just for you so any type or size is fine with me...as long as you are keeping it, i don't care what kind it is or what it looks like
and the assignment to go to the center for creative photography this week is NOT a sketchbook assignment....i want you to hand that one in
let me know if you have questions!
first the photos need only to be on your camera...you do NOT have to print them.....it's really all about your practicing
also bring your card reader to class if you have one....we are going to do a lesson on mac basics and using your media with the classroom macs so that we'll all be on the same page about this....if you don't have your card reader yet, don't worry...i'm going to do demo and you can also practice with a buddy in class
and a word on sketchbooks.....one is that these are just for you so any type or size is fine with me...as long as you are keeping it, i don't care what kind it is or what it looks like
and the assignment to go to the center for creative photography this week is NOT a sketchbook assignment....i want you to hand that one in
let me know if you have questions!
Saturday, January 10, 2009
week 1 home work (2 assignments in this post)
I. you are to spend time with your camera and manual. buy your sketchbook and take notes on all of the following: (make notes of WHERE things are in your menus even if you don't know how to use them yet.)
1. READ YOUR CAMERA MANUAL. If you need a manual for your camera, look up your make and model on line and you should be able to download a pdf copy. Please feel free to email me with questions if you have problems finding one.
2. Find Format in your menu
3. Find the area in your menu to set the image quality and type (tiff, jpg, raw)
4. Find your ISO/film speed. How many settings do you have?
5. Find your white balance control. How many setting does your camera have, and what do they do?
6. Find your manual functions and spend some time changing your shutter speed and your aperture. How do you change these? Make sure you know where your light meter is located.
7. What sort of recording media does your camera need (cf card, memory stick, etc) How much memory does it have?
8. Take at least 100 photos. Use your auto function for 5 of them. and then practice using the maual functions, and changing the white balance on your camera to take the rest. Take some with and with out your flash.
Don't fret if you aren't sure how to make these work yet, we will be covering exposure!
BRING YOUR CAMERA AND YOUR PHOTOS TO THE NEXT CLASS (the photos can just be on your camera!)
II. Go to the Center for Creative Photography and view the current exhibition. If you need directions, check out their website: www.creativephotography.org
*Pick out one image that you especially liked or one that you especially hated and write a paragraph explaining your feelings about this work. Type it up and hand it in to me at the next class period. This should be separate from your sketchbook as a FINAL thing to hand in. I would suggest taking your sketchbook with you and taking notes as you look. Make sure that you have a pencil because pens are not allowed near the work at the ccp.
Exhibition:
Oh l'amour: Contemporary Photography from the Stéphane Janssen Collection
November 22, 2008 — March 8, 2009
Love — l'amour — is one of art's enduring themes. From classical antiquity to contemporary America, this profound idea, both abstract and physical, has inspired collectors as well as creators. Stéphane Janssen, Belgian by birth and resident in Arizona, is one such collector. Beginning with a love of art that emerged in his teenage years, Janssen went on to assemble an extensive and entirely unique collection that includes almost every creative medium: painting, ceramics, photography, and more. For this exhibition, Janssen generously shares a group of contemporary photographs that reflect his vision as a patron. Sharing elements of fantasy and physicality, exuberance and emotion, these photographs — by artists such as Philip Lorca diCorcia, Sally Mann, Duane Michals, Vik Muniz, and Spencer Tunick, among others — depict love in myriad forms and guises.
1. READ YOUR CAMERA MANUAL. If you need a manual for your camera, look up your make and model on line and you should be able to download a pdf copy. Please feel free to email me with questions if you have problems finding one.
2. Find Format in your menu
3. Find the area in your menu to set the image quality and type (tiff, jpg, raw)
4. Find your ISO/film speed. How many settings do you have?
5. Find your white balance control. How many setting does your camera have, and what do they do?
6. Find your manual functions and spend some time changing your shutter speed and your aperture. How do you change these? Make sure you know where your light meter is located.
7. What sort of recording media does your camera need (cf card, memory stick, etc) How much memory does it have?
8. Take at least 100 photos. Use your auto function for 5 of them. and then practice using the maual functions, and changing the white balance on your camera to take the rest. Take some with and with out your flash.
Don't fret if you aren't sure how to make these work yet, we will be covering exposure!
BRING YOUR CAMERA AND YOUR PHOTOS TO THE NEXT CLASS (the photos can just be on your camera!)
II. Go to the Center for Creative Photography and view the current exhibition. If you need directions, check out their website: www.creativephotography.org
*Pick out one image that you especially liked or one that you especially hated and write a paragraph explaining your feelings about this work. Type it up and hand it in to me at the next class period. This should be separate from your sketchbook as a FINAL thing to hand in. I would suggest taking your sketchbook with you and taking notes as you look. Make sure that you have a pencil because pens are not allowed near the work at the ccp.
Exhibition:
Oh l'amour: Contemporary Photography from the Stéphane Janssen Collection
November 22, 2008 — March 8, 2009
Love — l'amour — is one of art's enduring themes. From classical antiquity to contemporary America, this profound idea, both abstract and physical, has inspired collectors as well as creators. Stéphane Janssen, Belgian by birth and resident in Arizona, is one such collector. Beginning with a love of art that emerged in his teenage years, Janssen went on to assemble an extensive and entirely unique collection that includes almost every creative medium: painting, ceramics, photography, and more. For this exhibition, Janssen generously shares a group of contemporary photographs that reflect his vision as a patron. Sharing elements of fantasy and physicality, exuberance and emotion, these photographs — by artists such as Philip Lorca diCorcia, Sally Mann, Duane Michals, Vik Muniz, and Spencer Tunick, among others — depict love in myriad forms and guises.
syllabus
Digital Photography 1 (ART 128/DAR 128)
Fall 2008, Tuesdays 5:40 – 10:20 OR Fridays 9:10 - 1:40
Instructor: Rae Strozzo
Message phone: 520-206-6464 then enter 65314
Office hours: One hour prior to class start, one hour after class ends, or by appointment.
Email:rastrozzo@pima.edu
Class Blog: http://pimaart128.blogspot.com/
Head of Photography Area: Ann Simmons-Myers (Sam) 206-6629
Head of Digital Arts: Dennis Landry 206-6840
Photography Lab Supervisor: Linda Cooley 206-3126
Course Description/Class Objectives
An introduction to digital photography emphasizing the technical and aesthetic issues and how these qualities inform image content.
The purpose of this class is to develop competency in the digital darkroom through lessons and projects that teach photography and Photoshop skills. These skills will then be applied to developing an expressive visual language. It is the goal of this class to make each student competent in the conceptual, aesthetic and technical aspects of digital photography. Each student will be encouraged to use digital photography to develop a personal vision as evidenced in his or her final portfolio.
Over the course of this semester, you will learn the technical necessities: how to operate a digital camera, manage the image files, and various ways to output the images. You will learn aesthetics and design concepts, lighting techniques using both ambient and studio lights, concepts about perspective and color, ways to control - correct - alter your image, and much more. All of these skills, techniques and concepts are of little use, in and of themselves, but combined they will be of great importance. They are the tools with which you will express your thoughts-ideas-feelings-concepts-agendas-opinions-emotions-beliefs. Technique supports aesthetics, aesthetics supports content.
There will be 4 assignments during the semester, the class will critique each assignment, and each assignment will be worth 10% of your grade. You will also produce a final portfolio of work – made up of both images from assignments and additional work – that will be critiqued by the class and will be worth 40% of your grade. Each student is required to keep a sketch book for this class. The final 20% of your grade is a combination of in class assignments and sketchbook work, class attendance and class participation.
Class Blog:
***All assignments, class notes, important anouncements, and class calendar and calendar changes will be posted to the class blog. It is the student's responsibilty to check the blog on a weekly basis to ensure that he/she is up to date on things that are happening in and due for class. If you miss class, check the blog for any assignments that you may have missed! http://pimaart128.blogspot.com
The class is a hands on class, with demos, lectures, and student participation during every class. Students are responsible for all material delivered in each class. The class material and schedule will evolve out of the needs of the class throughout the semester; it is the student’s responsibility to know of these updates and revisions.
Contacting the Instructor:
I will accept emails at the provided address anytime. I try to check my email daily but please realize that I may not get back to you over weekends. Office hours are by appointment and can be made either the hour before our the hour after class.
Recommended Texts and Equipment:
Students are strongly recommended to own or have access to a digital camera with manual exposure control and access to a computer. Professional cameras, computers and software, lighting equipment and a studio will be provided. There may be additional supply costs in addition to course fees. Students will need a flash drive or external hard drive and a sketch book to bring with them for each class period. It is not necessary for you to bring your camera to each class. I will let you know when you need to bring it.
Required Text:
Photography Ninth Edition, London, Upton… (Pearson Prentice Hall).
Recommended Texts:
The Photograph as Contemporary Art by Charlotte Cotton
Photoshop CS3 Classroom in a Book
How to Wow in Photoshop, CS3
Teach Yourself Visually Adobe Photoshop CS3 (woolbridge)
Required Equipment:
sketchbook
jumpdrive, external harddrive or cds to save your classwork.
Recommended Equipment Purchases:
Photoshop CS4 for pc or mac
photo quality printer (these start at around $100)
extra memory card for your camera
card reader
cds
cd holder
external hard drive or jump drive
gray card
lens pen
Borrowing Equipment from PCC:
Students WILL follow all procedures for borrowing equipment from PCC. They will return said equipment in the time that PCC requires and in the same condition as at the time of borrowing. Students not complying with borrowing procedures will be restricted in their access to equipment as per the PCC Photography Department Policy. Restricted or limited access to school equipment IS NOT a valid excuse for late work.
Late Work:
I would prefer that work not be late or turned in on a different day other than your specified critique group day. If you miss your critique, you have until the next class meeting time to turn in the work for a reduced grade. Not participating in critique adds to the reduction of your grade if you are late. If it is NOT turned in by the next class meeting, the project will be given a ZERO. DO NOT turn in work to the art office without notifiying me.
Attendance:
Attendance is necessary for individual development and for valuable community contributions that each class member is expected to give. The student’s individual participation in discussions and critiques is necessary, expected and required. Regular attendance is required. Poor attendance will impact your grade, and more importantly, your learning.
Attendance and participation at every critique is required; it is the only direct method of feedback on your work and progress. The final critique is the final exam, and, therefore, attendance is mandatory. If emergency, illness, or required travel occurs during class time, please notify me through email.
**After three absences: overall grade will be reduced by a letter grade
**After four absences: overall grade will be reduced by 2 letter grades
**Upon five or more absences: the grade will be reduced to an F.
*An attendance grade is figured into your daily grades average and is worth 5% of that grade.
***I also give half absences based on missing large portions of class. I take roll before and after break, and I will dock you if you leave early or arrive well into the class. More than an hour late or leaving more than an hour early will result in a half absence for the class. Two half absences count as a absence just as if you had missed an entire day of class.
Grades:
Daily assignments 20 % (includes sketchbook, homework, in class
assignments, and attendance and participation)
Projects 40%
Final Portfolio 40%
Work completed by anyone other than you may NOT be used as a fulfillment of any project in this course. All work must be current. If you include previous work, it will be considered the same as cheating on an exam. Students are asked to conduct themselves according to the PCC Student Code of Conduct and The Scholastic Ethics Code. Copies are available in the Student Center Building and the Photo Lab Office.
Grading guidelines:
Grades are based on the following criteria:
• creative work produced in the class by the individual which successfully
communicates an idea and is aesthetically acceptable
• degree of growth made by the individual in their creative work throughout the course
of the semester.
• completion of projects by due dates
• contribution to group critiques and discussions
• timely completion of classwork work and quiz grades
• attendance
Grading Policy (for weighting scale and incompletes):
• Students may initiate withdrawal W” grade from a course only up to 2/3 into the semester. The specific date is listed in the schedule book and announced early in the semester.
• College policy now states: An Incomplete “I” automatically changes to an “F” after one year on record.
• “Y” grades are weighed as “F’s” at some universities. “Y” grades will only be given on request
• It is up to the student to withdraw from this class if so desired. Failure to do so could result in an “F”.
Photography is important, significant, meaningful, moving… and also fun. I intend to have fun his semester, I hope you do too. However… with the move of the Photography program to new facilities, there are many logistical issues that are not yet resolved. And this class will evolve as we learn both our students’ needs and abilities. These changes are good, but you will have to pay attention and stay up to date with the latest information. And, of course, your patience, cooperation and good humor will be greatly appreciated.
Classroom Behavior and Academic Integrity:
Students will comply with policies and procedures designated by the Photography Program and Digital Arts. These policies as well as other policies posted elsewhere or that develop over the semester, are binding. These policies address attendance, withdrawing from class, grading, course requirements, course content, course intent, and requirements and procedures for using the photography program’s and Digital Art’s facilities and equipment.
Saftey and Health:
Please read the Photography Program Policy and Procedure Manual
Students with Disabilities:
Reasonable accommodations, including materials in an alternative format, will be made for individuals with disabilities when a minimum of five working day’s advance notice is given. It is the policy of Pima County Community College District to comply with the Americans with Disabilities Act (ADA) of 1990 and Section 504 of the Rehabilitation Act of 1973 as amended. In addition, Pima County Community College District complies with other applicable federal and state laws and regulations that prohibit discrimination on the basis of disability. No qualified person will, solely by reason of disability, be denied access to, participation in, or the benefits of any program, activity, or service offered by the College. Students who require accommodations under the ADA or Section 504 are encouraged to contact a Disabled Student Resource (DSR) Specialist on any campus. DSR personnel conduct intake interviews, prepare student service plans, and make eligibility determinations. West Campus (520) 206-6688 (Voice/TTY). http://www.pima.edu/dsr/
Students Rights and Responsibilities:
By enrolling in this class, you have specific student rights as well as responsibilities, a code of conduct, and a scholastic ethics code to follow while enrolled at Pima Community College. These policies are listed in the current student handbook and on the Pima web site. Read the student handbook completely and refer to it when necessary. Your student responsibilities are available online at: http://www.pima.edu/studentserv/studentrights
Please note, course schedules and assignments are subject to change as deemed appropriate to the instructor and reasonable advance notice of such changes will be given to students.
Fall 2008, Tuesdays 5:40 – 10:20 OR Fridays 9:10 - 1:40
Instructor: Rae Strozzo
Message phone: 520-206-6464 then enter 65314
Office hours: One hour prior to class start, one hour after class ends, or by appointment.
Email:rastrozzo@pima.edu
Class Blog: http://pimaart128.blogspot.com/
Head of Photography Area: Ann Simmons-Myers (Sam) 206-6629
Head of Digital Arts: Dennis Landry 206-6840
Photography Lab Supervisor: Linda Cooley 206-3126
Course Description/Class Objectives
An introduction to digital photography emphasizing the technical and aesthetic issues and how these qualities inform image content.
The purpose of this class is to develop competency in the digital darkroom through lessons and projects that teach photography and Photoshop skills. These skills will then be applied to developing an expressive visual language. It is the goal of this class to make each student competent in the conceptual, aesthetic and technical aspects of digital photography. Each student will be encouraged to use digital photography to develop a personal vision as evidenced in his or her final portfolio.
Over the course of this semester, you will learn the technical necessities: how to operate a digital camera, manage the image files, and various ways to output the images. You will learn aesthetics and design concepts, lighting techniques using both ambient and studio lights, concepts about perspective and color, ways to control - correct - alter your image, and much more. All of these skills, techniques and concepts are of little use, in and of themselves, but combined they will be of great importance. They are the tools with which you will express your thoughts-ideas-feelings-concepts-agendas-opinions-emotions-beliefs. Technique supports aesthetics, aesthetics supports content.
There will be 4 assignments during the semester, the class will critique each assignment, and each assignment will be worth 10% of your grade. You will also produce a final portfolio of work – made up of both images from assignments and additional work – that will be critiqued by the class and will be worth 40% of your grade. Each student is required to keep a sketch book for this class. The final 20% of your grade is a combination of in class assignments and sketchbook work, class attendance and class participation.
Class Blog:
***All assignments, class notes, important anouncements, and class calendar and calendar changes will be posted to the class blog. It is the student's responsibilty to check the blog on a weekly basis to ensure that he/she is up to date on things that are happening in and due for class. If you miss class, check the blog for any assignments that you may have missed! http://pimaart128.blogspot.com
The class is a hands on class, with demos, lectures, and student participation during every class. Students are responsible for all material delivered in each class. The class material and schedule will evolve out of the needs of the class throughout the semester; it is the student’s responsibility to know of these updates and revisions.
Contacting the Instructor:
I will accept emails at the provided address anytime. I try to check my email daily but please realize that I may not get back to you over weekends. Office hours are by appointment and can be made either the hour before our the hour after class.
Recommended Texts and Equipment:
Students are strongly recommended to own or have access to a digital camera with manual exposure control and access to a computer. Professional cameras, computers and software, lighting equipment and a studio will be provided. There may be additional supply costs in addition to course fees. Students will need a flash drive or external hard drive and a sketch book to bring with them for each class period. It is not necessary for you to bring your camera to each class. I will let you know when you need to bring it.
Required Text:
Photography Ninth Edition, London, Upton… (Pearson Prentice Hall).
Recommended Texts:
The Photograph as Contemporary Art by Charlotte Cotton
Photoshop CS3 Classroom in a Book
How to Wow in Photoshop, CS3
Teach Yourself Visually Adobe Photoshop CS3 (woolbridge)
Required Equipment:
sketchbook
jumpdrive, external harddrive or cds to save your classwork.
Recommended Equipment Purchases:
Photoshop CS4 for pc or mac
photo quality printer (these start at around $100)
extra memory card for your camera
card reader
cds
cd holder
external hard drive or jump drive
gray card
lens pen
Borrowing Equipment from PCC:
Students WILL follow all procedures for borrowing equipment from PCC. They will return said equipment in the time that PCC requires and in the same condition as at the time of borrowing. Students not complying with borrowing procedures will be restricted in their access to equipment as per the PCC Photography Department Policy. Restricted or limited access to school equipment IS NOT a valid excuse for late work.
Late Work:
I would prefer that work not be late or turned in on a different day other than your specified critique group day. If you miss your critique, you have until the next class meeting time to turn in the work for a reduced grade. Not participating in critique adds to the reduction of your grade if you are late. If it is NOT turned in by the next class meeting, the project will be given a ZERO. DO NOT turn in work to the art office without notifiying me.
Attendance:
Attendance is necessary for individual development and for valuable community contributions that each class member is expected to give. The student’s individual participation in discussions and critiques is necessary, expected and required. Regular attendance is required. Poor attendance will impact your grade, and more importantly, your learning.
Attendance and participation at every critique is required; it is the only direct method of feedback on your work and progress. The final critique is the final exam, and, therefore, attendance is mandatory. If emergency, illness, or required travel occurs during class time, please notify me through email.
**After three absences: overall grade will be reduced by a letter grade
**After four absences: overall grade will be reduced by 2 letter grades
**Upon five or more absences: the grade will be reduced to an F.
*An attendance grade is figured into your daily grades average and is worth 5% of that grade.
***I also give half absences based on missing large portions of class. I take roll before and after break, and I will dock you if you leave early or arrive well into the class. More than an hour late or leaving more than an hour early will result in a half absence for the class. Two half absences count as a absence just as if you had missed an entire day of class.
Grades:
Daily assignments 20 % (includes sketchbook, homework, in class
assignments, and attendance and participation)
Projects 40%
Final Portfolio 40%
Work completed by anyone other than you may NOT be used as a fulfillment of any project in this course. All work must be current. If you include previous work, it will be considered the same as cheating on an exam. Students are asked to conduct themselves according to the PCC Student Code of Conduct and The Scholastic Ethics Code. Copies are available in the Student Center Building and the Photo Lab Office.
Grading guidelines:
Grades are based on the following criteria:
• creative work produced in the class by the individual which successfully
communicates an idea and is aesthetically acceptable
• degree of growth made by the individual in their creative work throughout the course
of the semester.
• completion of projects by due dates
• contribution to group critiques and discussions
• timely completion of classwork work and quiz grades
• attendance
Grading Policy (for weighting scale and incompletes):
• Students may initiate withdrawal W” grade from a course only up to 2/3 into the semester. The specific date is listed in the schedule book and announced early in the semester.
• College policy now states: An Incomplete “I” automatically changes to an “F” after one year on record.
• “Y” grades are weighed as “F’s” at some universities. “Y” grades will only be given on request
• It is up to the student to withdraw from this class if so desired. Failure to do so could result in an “F”.
Photography is important, significant, meaningful, moving… and also fun. I intend to have fun his semester, I hope you do too. However… with the move of the Photography program to new facilities, there are many logistical issues that are not yet resolved. And this class will evolve as we learn both our students’ needs and abilities. These changes are good, but you will have to pay attention and stay up to date with the latest information. And, of course, your patience, cooperation and good humor will be greatly appreciated.
Classroom Behavior and Academic Integrity:
Students will comply with policies and procedures designated by the Photography Program and Digital Arts. These policies as well as other policies posted elsewhere or that develop over the semester, are binding. These policies address attendance, withdrawing from class, grading, course requirements, course content, course intent, and requirements and procedures for using the photography program’s and Digital Art’s facilities and equipment.
Saftey and Health:
Please read the Photography Program Policy and Procedure Manual
Students with Disabilities:
Reasonable accommodations, including materials in an alternative format, will be made for individuals with disabilities when a minimum of five working day’s advance notice is given. It is the policy of Pima County Community College District to comply with the Americans with Disabilities Act (ADA) of 1990 and Section 504 of the Rehabilitation Act of 1973 as amended. In addition, Pima County Community College District complies with other applicable federal and state laws and regulations that prohibit discrimination on the basis of disability. No qualified person will, solely by reason of disability, be denied access to, participation in, or the benefits of any program, activity, or service offered by the College. Students who require accommodations under the ADA or Section 504 are encouraged to contact a Disabled Student Resource (DSR) Specialist on any campus. DSR personnel conduct intake interviews, prepare student service plans, and make eligibility determinations. West Campus (520) 206-6688 (Voice/TTY). http://www.pima.edu/dsr/
Students Rights and Responsibilities:
By enrolling in this class, you have specific student rights as well as responsibilities, a code of conduct, and a scholastic ethics code to follow while enrolled at Pima Community College. These policies are listed in the current student handbook and on the Pima web site. Read the student handbook completely and refer to it when necessary. Your student responsibilities are available online at: http://www.pima.edu/studentserv/studentrights
Please note, course schedules and assignments are subject to change as deemed appropriate to the instructor and reasonable advance notice of such changes will be given to students.
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